Go Proverbs Illustrated

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GO LIBRARY

VOL. 1

by hensabu segoe Lwasliled bi john ee

GO was

Proverbs

Illustrated

Japanese language edition of this book

published

in 1956, and is

still being

asked for as a bestseller. Praise in Japan is being lavished on this creditable work.

GO,

(BZ)

an invention

of ancient

China, is most intellectual as a parlor game of contest. It was brought to Japan in 6~700 and has _ since developed into our national game. The popularization of this game, now almost throughout the world, has been fostered by The Japanese Go Association

(A ASHER). This body has brought up many GO champions, and “GO Library in English” is one phase of the project of the association to make GO popular. In Go ranks or grades run from Shodan, Initial grade (corresponding to handicap 20 in golf) to Kudan, Ninth grade, designations of stages of ability. This Library has for its primary purpose the raising of skill of those who have had some GO to the grade of Shodan. This monitory compilation, moreover, is to help those beginning players to guard themselves again classical pitfalls they are apt to commit, to avoid bad plays, to learn good plays.

Jacket design by E. Miyake

GO Proverbs Illustrated

GO PROVERBS

ILLUSTRATED

GO Library in English - vol. 1 by KENSAKU SEGOE translated by John Bauer

Third Printing : August

© 1960

1966

by Kensaku Segoe

Library of Congress Catalog Card No

Published

by

The Japanese GO Association 43, Takanawa Minato-ku,

Kita-machi,

Tokyo, Printed

Shiba,

Japan in Japan

60-53178

PREFACE Anyone who has played the old game of “proverbs” will remember such sayings as “Even a stone will soften a bit if you sit on it for three years”, or “He studies Heaven through the eye of a needle”, or “Even Buddha’s smile will fade if you go begging to him three times in a row”. These old sayings in colloquial language teach in a vivid and easy way a rough and ready philosophy of life and essential points of conduct even better perhaps, than profound and difficult lectures on sacred scriptures. In Go also there are many such proverbs, for instance: “Six will die, eight will live”, or “Strike at the waist of the knight’s move”, or “The most urgent play for my opponent is the most urgent play for me”. This book is a collection of such short expressions which compress into a few words measures applicable to the infinite variety of occurrences on the go-board and hand down from the past broad hints for the discovery of winning plays and combinations

(tesuji),

useable in innumerable

cases.

I

have also added some of my own, adapted to forms arising in actual play and all are extensively illustrated and explained by means of diagrams. Unlike other works, although it may be taken for light reading, a single phrase may be worth ten games of teaching, and whatever you learn will be immediately useful in actual play regardless of your strength or weakness. I hope

that those interested in the subject will enjoy reading this book. Kensaku Segoe

”

D/A

lire “aktavery” iid & neMee sayveot!

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esithiie

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*.

ile slicne a’sethiayt? pe seeiT .“wor so eon

‘)1 8a

sorta? tol tt ‘po 2a. go

Uw .

1“ ,“albaau' # To 64 arti Hynoads = sew) mild of galgend iy OY iirebel i

ware ‘bos beet a arte ok penigimtdalinpollon ai agit ‘blo is felines) (Biers

bes

ott!

ae

vbsex

ban ttyuer a ee

boudtorg welt ..qeieg wited ave japbacd f6 ain aaa

‘bene

i siiogi sae

saomnlani 20 adhe vor duemaae os Stadt este ao al To Tei, bil) tn ane Ya.

wl

Vay

Uw

ar ae ae

oa A

ee ies asia out eb Seas mye -Hdiiw enicisesyqas trode doue toanitvelies Bet aond el

~; es ete,

Ne

4

In this case White cuts with White 1, with White 3 at D-5 and his sacrifice-stone has accomplished nothing.

but his reply to Black 2 is to push outward

DIAGRAM 5 Here White adds the second stone, and when Black 4 attacks he is able to confine him on the left and right with White 5, 7, and 9, obtaining a base in the corner

and gaining complete

control

of the situation.

compare this result with that of the preceding — 180—

Now

diagram.

DIAGRAM

6

ch ++]: er

DIAGRAM 6 It is a common practice to play White 1 as a sacrifice-stone in direct contact with the Black stone — at H-3 in order to strengthen the group of three White stones as shown here. White 5 is an example of adding the second stone he sacrificed, and in the play up to White 11 White obtains a formation which gives him control of

the situation.

DIAGRAM

7

DIAGRAM 7 If White does not play as shown in the preceding diagram, Black can attack with Black 1 at J-3 and the situation is reversed. Black robs White of his

base and attacks him with sente. — 181 —

DIAGRAM

DIAGRAM

8

8

When

DIAGRAM

White

9 -

1 attacks, Black 2 strength-

ens the corner with sente, but since White 3 captures the Black stone at C-5 this line of play does not yield enough for Black. White can next play a hane at A or extend at B and this robs Black of eyes.

DIAGRAM 9 Here Black extends with Black 2 and shuts White out of the corner completely with the play up to Black 8. Campare this result with that of diagram 8. DIAGRAM

10

DIAGRAM

10

and 3 are part of the osae

Black 1 tsuke-

(contact and check)

jo-

seki intended to guard the corner quickly. When White

extends with White 6 and 8, Black 9 may seem like an unnecessary play but the following diagram shows what happens if Black fails to make it. — ee

DIAGRAM

11

reae

get°@

——}—-

12

Fi

:; +

Jeea

O | SOOS e —|----+| O

° ++@ igen. ee il ae

|

Black comes under severe DIAGRAM 11 Of course the play from White 10 to Black 15. gram shows very unskilful play on Black’s part.

DIAGRAM

attack this

in dia-

12

The diagonal extension with Black 11 is good play. Black’s position here is superior to that of the two

preceding

diagrams

DIAGRAM

13

5

if only in the fact that it leaves White with a weak point at A.

DIAGRAM

Zl

O@z> e>e++ &

{

O

ahs Ae

© Hg_@--@e@e@0O. H tf

13 _ Therefore

White 12 as shown here is a good reply to Black 11. With this play White threatens to the sequence: follow with

—+

White at A, Black at B, then White at C so that Black now is forced to answer with Black 13 at B-5 and White is able to play first somewhere else.

— 183—

ett HH tO+++++ 14

DIAGRAM

DIAGRAM

15

000 Ot

DIAGRAM 14 This formation appears in the tsukenobi joseki. White 3 is a rather senseless play. DIAGRAM

15

However,

if Black makes the planless can extend with White 5, White 4, connection with Black and Black may then defend the corner at A. This is dull play.

DIAGRAM

16

DIAGRAM

16

The

idea of cutting with Black 4 in reply to White 3

is one

which

might

not

occur to many players. The result up to White

9 is that the weak point at A is defended so that Black can counterattack with Black 10.

DIAGRAM

17

DIAGRAM 17 The result is that White must

try

to

tear

life

from the jaws of death in the play from White

11 to 31. Although Black’s play allows White to live he derives sufficient compensation in the strength he builds up on the outside.

An Example of Adding A Stone To One On The Second Line Before Abandoning It

DIAGRAM

DIAGRAM

18

19

+4.

Ha

®

~ —t--

If White makes the greedy attack DIAGRAM 18&19 Black 2 at B-5, with White 1, Black can counterattack with with and this results in the capture of the entire White group of Black the play shown here from Black 8 to 12. The use second the on one to 4 is an example of adding a stone

line before sacrificing it. — 185 —

An Example Of Adding A Stone To One In The Center Before Abandoning It

:

DIAGRAM

20

DIAGRAM 20 The capping play with White 1 attacks the two Black stones in the center of the lower side, but Black escapes by means of the tesuji plays with Black 2 and 4. White 5 is actually a foolish play but the circumstances happened to produce it. However, to answer White 7 the way Black does in this diagram, allowing him to make the pon—nuki capture with White 9, reveals the blind spot of an amateur player. — 186—

DIAGRAM

21

DIAGRAM 21 Black replies to White 7 by extending with Black 8 which forces the connection with White 9. Black’s purpose in adding this stone is to increase his dame so that Black 4 will not fall to the pon-nuki capture. The contact play with Black 10 is a tesuji connected and when with the following plays from Black 12 onward, neatly very escaped has the play reaches Black 16, Black purpose. its and the extension with Black 8 has served

— 187—

“ BEWARE ;

Going

PATCH

back

OF GOING UPRSYOUR

to patch

away

by

the

TO

PEAYS

up your plays means

gote play. It is a beginner’s carried

BACK

vice

excitement

to allow

making

himself

of the game

a

to be

so that he

“overplays” a situation with the result that weak points and doubtful positions begin to grow up behind him and he must then hand over the sente to his he retraces his steps to make repairs.

DIAGRAM

opponent

while

1

DIAGRAM 1 The counterattack with Black 2 in reply to White 1 seems at first glance like an uncompromising play, but in fact it is Black’s intention to abandon this stone in order to obtain sente for a play elsewhere. — 188—

DIAGRAM 2 —

=

avo

the

@: |

DIAGRAM 2 Continuing from preceding

gram, |

wae

Black

dia-

solidi-

fies his corner with Black 4 and 6, but after White 7, Black lets his enthusiasm carry

‘Deel On |

him too far and makes a_ bad play with Black 8. The result is that he is later forced to go back and make

the defensive play with Black 12.

DIAGRAM

DIAGRAM

3

3

It is necessary

defend

by playing as shown

this the

to

the position Black 8 here.

By

means, when play reaches

White 11, Black has been able to tighten his grip on the corner with sente and can play first at some other tant point.

— 189—

impor-

DIAGRAM

4

DIAGRAM 4 This is a formation common in handicap games. When there is a Black stone on the handicap point on the left side, the blow at the shoulder of the

White

stone

at C-6

with

Black 1 is a powerful play. White fight,

puts

first

up a hard

pushing

up

with White 2, then trying to cut

his

way

out

with

White 4 and 6, but the extension with Black 7

leaves the White group completely shut in. When White extends with White 8, Black keeps up the attack by shutting him up still more closely with Black 9, but when Black checks the hane of White 10 with the bad play of Black 11 as shown here he is overplaying the situation and has failed to observe that he

will be forced to retrace his steps and make a defensive play. Please try to see why Black 11 is a bad play.

— 190—

DIAGRAM 5 - —1

eter ®

a

ee ie

!

|

a

connection,

but

Black

is

forced to play Black 15 as

Hive

@>-e. Oe ®0e8—© |e -e Hs

DIAGRAM 5 _ Black 11 checks White 10 and White 12 forms a hanging

t t |

shown here for he does not dare to allow White to make the cut at A. White 16 then ruins Black’s corner and in the end White can form a live group.

DIAGRAM

6

The

correct play here is Black

J1

at

C-9.

undoubtedly

++

88e-7—

eee

TO@S

—191—

can a live

group here by means of the sequence shown up to White 22, just as he did in the preceding diagram, but in this case Black obtains a superior position.

—— OS®)

White make

“ THE MONKEY-JAMP

IS WORTH

EIGHT POINTS ” The meaning of this proverb is that the monkey—jump is one of those end-game plays that is of such great value a player must try not to let slip the chance of making it when he has sente. It is also called the monkey slide. It is not actually worth eight points in all cases but is always a valuable play in the end-game. There are four variatio ns of this play.

DIAGRAM

1

a

il at me

e)Qooae CLE

+-@@0—-@ +fae @-. @ © uc

DIAGRAM 1 White 1 is the monkey jump. After Black 2 and 4, if Black plays at A and White replies at B, the jump of White 1 is worth Six points in the end-game. — 192—

DIAGRAM

2

DIAGRAM 2 If White failed to play White 1 as shown in the preceding diagram and Black check-

ed him as shown here and then followed with the exchange of Black at A — White at B, Black would have himself the marked with Therefore the White 1 in the diagram was worth six points to him. DIAGRAM

3

saved for six points crosses. play with preceding

DIAGRAM 3_ Since Black has no stone at A he must answer the monkey jump by means of the play given here from

Black 2 to 8. The

White’s

gain

in

this case is seven points because his territory is larger by one point at B.

— 193 —

DIAGRAM

4 .

-

DIAGRAM this case the

|

O

jump

oe .@

4 In monkey

proceeds

White 1 to Black shown. If Black 7

|

plays at

@ee@0-—+ ae

at

B

A

the

and

result

have been worth points to White.

—o—|—

from

4 as then White

will eight

e@1---@0fO+ O+@+DIAGRAM

5

4s

°

‘1 @@e@O4--4+44+

FT QOOO0OT 606. +X X XQ@O®

1 Cacm

fe a

aR Y@Og- LL iit i

DIAGRAM 5 If Black takes sente in this case with Black 1 as shown here and in addition can play Black 3 and 5 with sente, then he will gain eight points which include both the six points marked with crosses and the two-point reduction of White’s own territory resulting from the play of White 4 and 6 within it. — 194—

DIAGRAM

6

_

DIAGRAM

6

Black

must reply to the mon-

key jump with White 1 by playing Black 2 and 4 as shown the play 8, White’s

here.

When

reaches

Black

use of sente

‘at this point has gained

him nine points.

DIAGRAM

7

$f tt 2O00 Ht

(White 2 was played elsewhere)

+C)4+4-0)---++

eats the situation reversed, the Black play in this diagram is worth eight points to him, and in the preceding diagram White gained an extra point since he did not have to occupy the point A DIAGRAM

inside his own

These key jump.

7

That

is, imagining

territory.

diagrams

show

the four variations of the mon— 195—

“TIF YOU

DON’T

UNDERSTAND

DON’T. A formation

THE

LADDERS,

-PLAY--GO*

that can be pursued under continued

ata-

ris is called a ladder, and once such a formation is set up it is generally decided from the beginning whether it can be captured or not.

Therefore

unless you can see through

it is not possible to play go

these

DIAGRAM

“ladder-ataris”.

1

Pop ptt +444 +444 bt jean tt aac nnEeeoe tthe th EL OPE tt eH toh Dpto tt tt tt fc BE tS tL OOA BO +++ 44444 ODOt ttt tt Pee ttt tt tt eles

DIAGRAM

1

The

play

from

— 196—

White

1 to 11 is the

takamoku joseki. If Black 6 tries to escape by playing at A, the fate of the ladder is decided by the position of a

stone on the dotted lines. In this case the ladder breaks down when the sequence beginning with Black at A reaches Black at E. DIAGRAM

2

DIAGRAM 2 This is a special example. The Black stone is on the third line instead of on the line at A; therefore White 49 can drive the ladder the edge and the method of deciding the problem gram

1 would

fail. — 197—

circled

fourth toward in dia-

DIAGRAM

DIAGRAM

3

4

pt

ahe

DIAGRAM

3

If White plays at A, Black

and this does not become

a ladder.

DIAGRAM 4 However, White 1 is a skilful play.

DIAGRAM

5

replies at B

the

attack

shown

here

with

DIAGRAM 5 If Black tries to escape with Black 2 he is turned around and driven back in a ladder aimed toward the lower side.

(Black 8 connects)

Since ladders

can

formed in this way

be also,

close attention must be given to such formations.

DIAGRAM

6

ail

Ee EL

L

|e

est 2aPe.|

2

|-

J

ir This is a problem in the use of the DIAGRAM 6 Can Black set up a ladder with Black 1 as shown

ladders. here?

One often sees someone tracing out the direction of a ladder on the board with his finger, but this is a discourtesy to one’s opponent. Since this is rather a simple problem you should be able to solve it at a glance.

— 199—

DIAGRAM

DIAGRAM

7

7

Black 1 begins the ladder formation and

the play from White

2 to the atari with Black 21 follows its natural course. The first hitch appears with White 22 which Black cannot meet by playing Black 23 at N-9, since this would allow White to escape when the ladder struck the circled White stone. Black therefore plays Black 23 and 25 as shown here and keeps the White stones under atari until he comes to the second hurdle with Black 33, then proceeds from that

spectacular capture with Black 37. — 200 —

point up

to their

final

lr

POOR.

Ea LER: PLAY

THE OPPONENT’S

GAME

FOR HIM”

If your plays provoke reactions that tend to strengthen your opponent’s development you are only playing his game for him. Therefore, when White 1 is played as shown in Diagram 1, Black must find out the most powerful course for him, which avoids producing any such reaction.

DIAGRAM

1

conDIAGRAM 1 When White 1 is played in direct escape, to t attemp tact with the Black stone at N-5 in an ered a good play, the hane with Black 2 may still be consid make him an but Black’s play with Black 4 and 8 simply runs out with White accomplice in White’s scheme. When to attack him. White 5 and 9 Black is left with no means — 201—

DIAGRAM

2

DIAGRAM 2 Here, when White pushes out with White 3, Black forms a hanging connection with Black 4 at N-7. This is a good play which build up White.

produces no effects tending to

The invasion with White 5 is futile. Since Black’s diagonal extension upward with Black 6 makes it possible for him to attack White on the left and right simultaneously, when White 7 is played Black checks him with Black — 202—

9. After

White

Black

play:--one at A,

next

of empty triangle with

the bad formation

8, forcing White

10, Black has two alternatives for his the other as shown here with Black

ee

DIAGRAM

3

White 9 at K-7 is a careless play,

Black cuts with Black

White

10 chasing

and

into a helpless

condition.

DIAGRAM

4

Sieh ©

—-

4

lees

|

|

@

Ae wiles

L

8 G06 OL®@

Og

eure e |

B

A+4 I~ saleable cle

|

1

The best course for Black is a directDIAGRAM 4. Then when contact squeeze play with Black 2 at L-5. White ely. White connects Black 4 shuts him in complet can reply - cuts with White 5, but after Black 6 and 8, Black to White

permits

this at A with a Black play at B. Even though future for h strengt the White group to live the

is enough development which Black obtains on the outside for him.

— 203 —

DIAGRAM

5

DIAGRAM 5 The manoeuvre with Black 1 and 3 with which Black attacks on the right side is a common tesuji and White is forced to bend upward with White 4 as shown here. Black then launches an attack on the lower side with Black 5 but in this case he is only becomin g White’s accomplice. The play with Black 7, 9, and 11 simply aids White in his escape, and when White gets his head out of the trap with White 12 it is clear that Black’s

attack has miscarried. = 204—

DIAGRAM

6

DIAGRAM 6 Here Black 5 is used to connect. This is a flexible play which looks toward an attack on White both on the lower side and on the left. If White

escapes on the left with White 6, 8, and 10, to the right side and attacks him there with

Black turns Black 11 and 13. When White escapes from the lower side with White the White 14 and 16, the attack with Black 17 keeps groups on the left and right separated. — 205 —

DIAGRAM

7

Pttebosled |

+

Ly

©

fa

FREE DIAGRAM 7 The play with White 1 is designed to aid the escape of the White stones on the left and is made in this way because White anticipates Black’s response with Black 2 as shown here. Black is thus neatly taken in and kindly plays Black 2 and 4 in accordance with White’s plans.

DIAGRAM

DIAGRAM and

after

8

8

Here Black 2 gives White no help at all

the exchange of White 3.-..-- Black 4, Black can either attack White with a play at A or check him at B. — 206—

“TF YOU

HAVE

LOST FOUR

| ,

CORNERS,

RESIGN ”

ot

DIAGRAM

a 6e@ OeOeO®@Oe@ Oe

ea @eee — C6666 —

1

athens cole

—|

: |

|

OOOO G9S3e

at

of the board are “DIAGRAM 1 If the different regions e territory, ectiv prosp classified according to their value as

the corners must be center. This diagram center may appear to sides together. The

rated shows be it Black

first, then the sides, then the that no matter how large the cannot equal the corners and territory here is one hundred

— 207 —

thirty six points but White has only one hundred twenty one points, therefore Black is ahead by fifteen points. Beginners tend to suffer from the delusion that they can build a large territory by surrounding the center and it is to caution against such notions that the proverb warns you to resign if you have lost four corners.

DIAGRAM

2

DIAGRAM 2 This is a four-stone handicap game designed to compare the relative extent of territory ef the sides and corners. If the play developed from White 1 to Black 24 as — 208—

shown here, and if one assumes that the game then proceeds uneventfully to its conclusion, White will have given Black all four corners.- In that case, comparing the territories of the two players, Black will have four corners with fifteen points each for a total of sixty points, but no matter how the estimate is made White cannot obtain forty points. DIAGRAM

te

|

© t

|

S)

|

3

alec Iteae | |

OO o---+-+-Q— Oe Lama

att +

_

ear

7

-

|

®-

—e

@ =] eo

woul na emsedl a

t+ Hot 82

boi) ae

lee Ey | @8)++

a

(—

+192 OOO |

TO

8

re

es es a i lic =

@ { | 4 -8+88

This diagram shows an even game DIAGRAM 3 trying to where Black has taken the corners and White is sketch

out

his territory

on

the

— 209—

sides

and

in the

center.

The attack with White 2 is a joseki in which White places more emphasis on obtaining influence than on seizing territory, and the play up to White 8 is the high attack on the three-four point. If one assumes that the game proceeds up to Black 33 with a similar joseki used in all four corners, then Black will have made certain of territories in the four corners amounting to about sixty points. However, it will be very hard for White to make sixty points of territory on the sides and in the center. DIAGRAM

4

|

++@ @--@-2 Lass hs

4}

~ ith, OC O J

aiaan [ee| + ©

ail

Fe

pS +64)

DIAGRAM

r

@ SS50+ ++188+-

4

Continuing from the preceding diagram, — 210 —

there is nothing White can do but seal off Black with White 34 and 36 in order to surround the center, but it is sufficient for Black to make a single play in the center such as Black 39. Black might also have used this play effectively at L-10 or at K-9. White is forced by the circumstances to try to surround territory in the center with White 40 and the play from Black 41 to 63 is all very solid

and secure. If one estimates the -territories of both players at this point one finds that Black has about seventy points while White’s

territory will not exceed

fifty five points, so

that there seems to be no chance whatever for White to win. Therefore in handicap games it must always be a necessary part of White’s strategy to aim at invasion of the corners at the three-three points in order to spoil Black’s territory there.

In short, even though White did play according to joseki this diagram shows how unprofitable it is for him to

ignore

the rule that

if four

corners

resign.

— 211 —

are lost one should

“ PON-NUKI

IS WORTH

THIRTY

POINTS ”

DIAGRAM 1

“pe

a ep ¢

Bees cn

i an

|“aa

Ht

|

iia

© °

|

DIAGRAM 1 The formation on the left side of this diagram illustrates the “ pon-nuki” capture of one White stone by Black 1. Since this play gains only a single stone it does not appear to be worth much for making territory but in fact this is one of the blind spots among beginners. When a player makes this kind of capture the expansive power of his stones is increased tremendously, and this is the meaning of the proverb that says that pon-nuki is worth thirty points. The figure on the right side of the diagram is not called a pon—nuki. In this case the circled Black stone results in an over—concentration of strength for Black as compared with the figure on the right.

— 212 —

DIAGRAM

2

DIAGRAM

HH : C) @O--+ ee ©

3

sal

CH

Onn

i

Ee

L

pao

DIAGRAM

2

White

1 makes

the pon—nuki capture of

one Black stone and with this single play White’s influence

becomes dominant DIAGRAM 3.

in the center. Here, on the contrary, Black connects with Black 1, and with the exchange of White 2:----- Black 3 the White group itself falls under attack. A comparison of this formation with that of the preceding diagram will make clear the significance of this proverb.

DIAGRAM

4 DIAGRAM

4

The

play

with

Black 2, 4, and 6 is the

most

effective

way

to resist

the cross-cut of White 1 and 3. When White 7 is played Black 8 and 10 are tesuji, and

the cut with duces a ko.

— 213—

White

11 pro-

DIAGRAM

(White 13 was

5

DIAGRAM

played as

(Black

a ko-threat)

14

6

answered

the

ko-threat)

DIAGRAM 5 _ Black ignores the ko-threat with White 13 and makes the pon-nuki capture with Black 14. This is an extremely

large play for in this case is worth even more than thirty points.

DIAGRAM

6

If Black answers

the

the ko-threat of White

13, White seizes on this as a golden opportunity the pon-nuki capture himself.

DIAGRAM

7

pon-nuki

DIAGRAM

7

to make

Comparison

of this diagram with diagram 5 shows clearly how important it is for Black to make the pon-nuki capture with Black 14, the difference being in White’s breakthrough with the pon—nuki capture.

— 214—

DIAGRAM 8 tak) eee -}--

-|--—--

DIAGRAM 8 If White invades with Whiteite 1 and the play proceeds as shown here from Black 2 to 10 the

White stones gain an enormous power as a ~» result of the pon-nuki capture.

In conclusion, Black

2 at E-8 is not play.

DIAGRAM

9

++_+—+--|++== |

+elit 4

DIAGRAM |

a good

9

The

formation of this diagram resembles that of the preceding one and Black gives the pon-nuki

to

White

in the

play

up to White 7, but this is a mere

joke because

White wall to the right together with the ponnuki formation constitute

a great

over-con-

centration of strength. In this case, Black 2 is

. a skillful play defeating the opponent’s attack

— 215 —

Twin pon-nuki worthy of fifty points

DIAGRAM

(Black (Black (White (Black (White (Black

10

8 was played elsewhere) 12 took the ko) 13 was played as a ko-threat) 14 answered the ko-threat) 15 took the ko) 16 was played as a ko-threat)

DIAGRAM 10 Here the play begins with the invasion of White 1 and continues through the pon—nuki capture with White 7, the ko-fight beginning with White 9 and 11, and White’s victory in the ko with White 17. White has made two successive pon-nuki captures and their value is more than fifty points. This becomes quite clear if one compares the expansive power of White’s position stretching from the left corner across the lower part of the board with the formation Black would have obtained if he had won the ko.

actually

— 216 —

Stealing the turtle’s shell is worth more a pon-nuki capture.

DIAGRAM

eae

than

11

3s

© if oe

eo pee

rol ht

Cie

This example of DIAGRAM 11 in handicap games. The play from White 1 to Black 9 however, is a play made by someone and it is an error to be satisfied with by means of the sequence up to White

The

capture

of two

White

stones

pe

play is often found White 8 is joseki. ignorant of joseki taking the corner

13.

with

Black

12 is

even “stealing the turtle’s shell * and this play is ki. more powerful than a pon-nu the left The use of this manoeuvre plus his attack on all that he lost with Black 14 should soon regain for Black

called

in the right corner. — 217 —

| | | | L

! | op 60 one

DIAGRAM

12

alls 7

|

4

O80--+0--++0 OOO Pero Li)

@-

DIAGRAM 12 When White has a strong formation to the right he may play White 1 in contact with the corner handicap stone in order to ruin Black’s territory there. It is tesuji for Black to give him the two success ive checks with Black 2 and 6 and the play up to Black 12 is a common form. However, since the pon-nuki formation has no capacity for expansion in a corner such as this, the proverb that pon-nuki is worth thirty points does not apply here.

— 218—

“ONE

POINT

WORTH

TEN

IN THE

CENTER

IN THE

IS

CORNER”

This proverb refers to the power of the stones than to actual territory.

be pai

DIAGRAM 1

,

rather

a

a

©

ten points of DIAGRAM 1 Here White has more than in the territory in the corner and Black has a formation center which has captured one White stone. r, but if In actual territory Black’s formation is inferio pon—nuki this one considers the strength he acquires from all its terricapture his position is better than White’s for tory in the corner. — 219—

DIAGRAM

2

DIAGRAM

2 This diagram shows the influence of a pon-nuki in action. Following the play in the center with Black 1, Black 3 could be played either in the left or the right corner. When White approaches the right corner with White 4, Black makes use of his strength in the center by attacking immediately with Black 5 and 7, and although White escapes in the play from White 8 to 12, Black continues to gain territory while attacking White with Black 1S 5, and 17, thus swiftly gaining about ten points of territory. — 220 —

DIAGRAM

3

is the DIAGRAM 3. The problem here is this: which at stone larger play for Black, the capture of one White it makes a A, or that at B in the corner? In the corner by playlives White r - difference of nearly 30 points whethe . himself play that ing at B or Black kills him by making better for Black Nevertheless, even in this case it is will yield him this for A, to make the pon-nuki capture at play from best is the huge gains in the future. Black at A a whole. the standpoint of the game as — 221 —

DIAGRAM

4

DIAGRAM

5

-—+—|—

Lessa

ttt

+O®@

cf

2608 +S@890+-Taner EY etson ir

td

806 | OOOOSS

o; 1908: ihe |

DIAGRAM 4 In the sequence from White 1 to the cut with White 13 the order of play is correct, and Black has no choice but to connect with Black 14. However, the play from White 15 to Black 18 results in the exchange of one point in the center for ten in the corner and in this it is Black who has gained more. DIAGRAM 5 Here, in reply to White 15 Black makes the mistake of playing Black 16 at B-4. This allows White 17 and 19 as shown so that White rather than Black seizes the dominating position in the center.

— 222—

“TO

REDUCE LARGE PROSPECTIVE TERRITORY, STRIKE AT THE SHOULDER” | DIAGRAM

1

|

| [

a| ve

a

e—

{|

4

ay

a

| ©

|__|

a

=

ee

+ @-+-

4 44+O80+ 4444444 +444 800+ Pt +e0 e+ +0 +4++ 060 O01 +@0 311

ara

reali

0

+@ eyC)eka slat oka eg eee In order to reduce Black’s large proDIAGRAM 1 e strikes at the spective territory on the lower side, Whit ly replies to White Black stone in the center. Black usual here, but when the play 1 with Black 2 and 4 as shown has shrunk to the region reaches White 5, Black’s territory around the third line. — 223 —

This sequence is not restricted to this particular formation, for the idea of “striking at the shoulder” in order to reduce a large prospective territory provides a guide to the discovery of effective plays in a great many cases.

DIAGRAM

2

Hi Bes Hea“i Eade tt et4 i tHE o+t++ett Ote+i tines ian |

@—O

DIAGRAM 2 If Black pushes Black 2 underneath the attacking White stone as in this case, White extends with White 3. The possibility of keeping always one step ahead

of Black in this way White’s blow at the When Black 4 is course and escapes plays

Black of no

below

is one of the subtle points involved in shoulder. played, White again anticipates Black’s upward with White 5, then if Black at A, White will extend to B; although this allows to connect his group along the lower side this is great importance since Black’s territory there lies the third line.

— 224—

DIAGRAM

3

4

At first glance White appears to have an immense prospective territory stretching across the lower side, but the use of Black 1 for a blow at the shoulDIAGRAM

3

der of the White stone

at J-3 brings

about

a surprising

reduction of White’s territory. Using the technique illustrated in diagram 1, White replies with White 2 and 4 and Black escapes by jumping

upward with Black 5; this results of White’s

in sufficient

reduction

territory.

The capacity for future development of the White group on the right is of course ruined, and White is left with only the narrow territory along the lower edge of the board.

— 225 —

DIAGRAM

4

-|-ls

|

L | |

|

ce

+

ont

B

+ @--O

@

Stee eel DIAGRAM

4

—®

Here White 2 and 4 are used to reply to

Black 1 according to the technique of diagram 2, and with Black 5, Black has again reached his objective of reducing White’s large prospective territory. The result of Black’s way

is that

White

striking

will not

at the shoulder

be able

to make

use

in this of the

wall he has so carefully constructed to the right to develop any very extensive territory, and

there is even

the

possi-

bility that the territory he has allowed Black to obtain on

the right side in order to build this wall may turn out to be larger than that which he himself can get by using the wall as a base. Therefore, unless forced to do so by some special circumstances, professional players do not construct walls of stones at the cost of giving territory to their opponents. — 226 —

“IF YOU PLAN TO LIVE INSIDE ENEMY TERRITORY, PLAY DIRECTLY AGAINST HIS STONES”. DIAGRAM

1

DIAGRAM 1 When White invades Black’s territory with White 1 and his stone is capped by Black 2 it cannot succeed in living independently. Therefore White makes the direct contact play with White 3 to see how Black will react to this, and while Black is trying to deal with White 3, White can go to work developing a live group.

This is an illustration of the proverb. — 227 —

DIAGRAM

DIAGRAM Black extends something Black 6.

2

2 Continuing from the preceding diagram, with Black 4, and White begins to have

like a base with the exchange

of White

5——

The order in which White 9 and 11 are played is genious. When Black replies to White 13 with Black White can form a live group with no trouble at all playing with White 15 at P-2 as he can strengthen position by coming down to the edge at A.

. DIAGRAM

3

| |~ |

=

a -@ @ HB)A

rt O7-O71 OB8OO-— Trap BOO D+

in14, by his

DIAGRAM 3. After White 7, If Black 8 is played at L-2 White can cut with White 9 at L-3, and this would allow him to escape to the outside quite easily with White 11 and 13. Then if Black cut at A, his group on the lower

side

would

be killed by the sequence:

White

at B,

Black at C, and White at D. DIAGRAM-4

+ =

Se

za

@ =a

LO)

el

Os ee

Ht ® 4 ©

QO+ OSeiti+ 2 aeat ie Oo@e-— 9 © © @ —-

DIAGRAM 4 If Black 4 is used to block Black from above as in this diagram, the counter-hane with White 5 is a good play. If Black wants to capture White 5 by playing Black 6 and 8 as shown here, White can abandon it as a sacrifice-stone and ruin Black’s territory in the play up to White 15, this being another means of applying the proverb.

— 229—

DIAGRAM |

|

DIAGRAM

5

Another commonly

the reduction of an opponent’s ted here

where White

used

corner

tesuji play for

territory is illustra-

unceremoniously

play with White 1 at P-3.

makes

his contact

Black replies with a hane with

Black 2 and then plays downward 4 were

5

with Black 4.

used to push out to A, White

could

obtain

If Black a base

by playing at Q-2. The knight’s move with White 5 is a good play in this case, and White has succeeded in greatly reducing Black’s territory.

DIAGRAM

— 230 —

6

DIAGRAM 6 The contact play with White 1 below the Black stone in the corner is another common tesuji for the reduction of the opponent’s territory. When Black checks

White

cross-cut,

1 at P-2, White can use White 3 for a then while Black is engaged in capturing White

1 with Black 4, 6, and

8, White

sets up his formation

in

the play up to White 9, wringing all possible advantage from the use of his first play as a sacrifice-stone.

DIAGRAM

7 [me ol

ie

DIAGRAM

7

ats

Fd +4 oa

Here Black launches

a strong attack on contact play by pushing

White when he answers White’s out to the left with Black 2, and White replies with White 3 at P-2. If Black 4 were played at A, White could live in the corner by playing at the three-three point. After Black 4 at R-2, White plays hane with White 5 and Black checks him with Black 6 at O-4. It is then a cunning tesuji for White to cut with White 7 and play the second hane with

with White 9 thus leaving Black no choice but to pull back Black 10 as shown here. In this diagram also, when the play reaches White easily. White has a formation which can live quite — 231—

11,

DIAGRAM

t

“+

fh

aa

++ ae

—

8

Leh

I

t-

aie hee Sa

++-C)--

DIAGRAM

8

Even when

the corner

is closed

by two

stones separated by a one-line interval as in this case, the tesuji of the contact play can still be used for reducing the opponent’s territory. If Black answers White 1 with a play at A, White can easily live in the corner by means of the following sequence: White at B, Black at C, then

White at D.

DIAGRAM

9

ppt ff ttt [oT el |

t

Lert Settee]

DIAGRAM

9

When

Black 2 is played

to shut

White

out of the corner, the exchange of the hane with White 3, then

Black 4 at Q-4

is a common — 232 —

form.

White 5 at L-3

provides another example of the proverb that if you would live inside enemy territory you should play directly in contact with his stones. It would not do at all to use this play to connect at A for this would give White a heavy formation and allow Black to attack at B. This situation requires the light play with White 5, 7, and 9 to reduce Black’s territory and anything less than this shows that the player has not quite mastered.the

DIAGRAM

+

tesuji.

10

°

ies

Ee

O

e— Cee ©

ing Black’s proDIAGRAM 10 The key-play for reduc 1 at P-3. White is spective territory on the lower side

Black 4 is playAfter the exchange of Black 2------White 3, a White attack ed at R-4 in order to ward off either or a hane at point beginning with a threat to cut at that White’s strength A. The extension with White 5 builds up in the middle of Black’s

territory

the pressure of Black’s attack.

— 233—

and

relieves

him

from

DIAGRAM

| 6--@ + |

O--@ -@

o

DIAGRAM to form

11

11

6

5-—

|

&O @00+

In this situation it is possible for White

a live group

in the corner

by invading

it at the

three-three point, but with the large prospective Black territorry developing on the lower side of the board this play would be inadequate. The aggressive invasion beginning with the contact play of White 1 at Q-3 is in common use and he takes firm root on the lower side with the sequence from White 3 to 7. DIAGRAM

12

DIAGRAM 12 If Black 2 is used to check White 1 from the outside it is necessary for White to play the — 234 —

counter-hane with White 3. The result of the following play from Black 4 to White 11 is that, although Black acquires

considerable strength for later development on the outside, White is not too dissatisfied for he has surrounded nearly ten points of territory in the corner. Moreover, since there is a weak point in Black’s position at A his formation cannot be considered complete until he makes a hanging connection with a play at B.

DIAGRAM

13

DIAGRAM 13 In this case the presence of the circled Black stone at K-5 makes White’s problem of reducing Black’s prospective territory more difficult. The key play here is White 1 at P-2, and after Black replies with Black 2, White uses the tesuji of contact plays to form a live group in the sequence shown up to White 13. If Black 2 were used as contact play at Q-2, White the could handle the situation well enough by means of

White 3 at Q-3, Black 4 at R-3; following sequence: White 5 at P-3, Black 6 at R-2, White 7 at O-5, Black 8 at N-3, then White 9 at Q-5. — 235 —

“KNIGHT’S

MOVES

WIN

RUNNING

DIAGRAM

BATTLES”

1

a st

O

44444

a +-C)-+-—-+

DIAGRAM 1 There is also the saying: “play knight’s move when you attack”. Here the knight’s move with Black 1 at L-5 attacks the group of four White stones on the lower side. The use of this play to jump directly upward to A would be missing the point under these circumstances, and in fact this single play with Black 1 robs the White group of any hope of escape. — 236 —

DIAGRAM

2

eeee og es eoeohe

rT

pj

{

a

+ |

tt

ic

EF:

seo ®

Seas a

4 +—

+—++—+-—-((8) toO @ & ©

8

1—

©

OOOO -O882) +OOS)

=i

how White must DIAGRAM 2 This diagram shows ng upward with fail in his attempt to escape by jumpi t’s move attack that White 2. Black 3 is another knigh

up against Black’s wall on - drives the fleeing White forces ve by means of the tethe right. White attempts to survi

knight’s move, a masuji of striking at the waist of the At ult to a beginner. noeuvre which perhaps seems diffic any rate,

please

confirm

that

after

White group can be captured. — 237 —

Black

31

the

entire

DIAGRAM

3

4

¢ ee

P

nibs. 4

@@ 4

@00C@O+-@ +

O01 +80 DIAGRAM

3 Black 1 is another example of the attacking knight’s move, and it is especially good because it brings the lower and right sides under simultaneous attack. When White attempts to escape from the right side with White 2, Black 3 attacks the lower side from above. The only way

for White

is to play White 4 with Black 5 he should be careful of Black’s knight’s

to try to rescue

his single stone there

at J-3, but after Black shuts him in can no longer live there. The reader to grasp the implications of the tesuji moves with Black 1 and 3. — 238 —

DIAGRAM

4

Tes

|

@

@‘ Tar

DIAGRAM gram,

White

4

In this variation

answers

Black’s

of the

double attack

preceding

dia-

by defending

but this himself on the lower side with White 2 at J-3, position. ous danger a eaves his group on the right in h althoug Black then attacks on the right with Black 3 and in the White 4 may look like tesuji Black’s strong play on. formati White the s sequence from Black 5 to 9 destroy 5 Black with 4 It would be a blunder to answer White O-6, at 7 Black at N-7, for the sequence: White 6 at N-6, White 8 at O-5, takes an unfavorable — 239—

turn for Black.

DIAGRAM

5

DIAGRAM 5 In formations of this sort it is futile for White to try to rescue both his position on the lower side and that on the right. If he sets out to escape from the right side with White 1, Black will attack the lower side and the right both with Black 2 and will surely capture one of these regions. The knight’s move with Black 2 begins the pursuit, and on his next play Black can either use Black 4 for the contact play at A, thus shutting White in on the lower side, or can capture the White stones on the right side by

attacking with Black 4 as shown

White at his wit’s end. — 240—

here, a play which leaves

DIAGRAM

r

¢

=n

(|

iggy

|

|

O

-

@ @

@

it

a a

Ie fl

7 ite

@-

1 @O> =e O++@

+

|

6

© Oo)©)

al

|

-@

=

|

"

A+@+++O + © ©&

+++. HO+O+@-@1

Olea

-

DIAGRAM 6 If White’s reply to Black 2 is to flee with from the right side by playing diagonally upward be a White 3, Black 4 used as a contact play at A would pursuit. good move, but here Black chooses to keep up his uses Black then but White escapes with White 5 and 7,

6 to jump the strength he has built up with Black 4 and s entire up to J-7 with Black 8 and thus swallows White’ gulp. position on the lower side at one to meet Any player who is able to select this variations ly of shodan changing circumstances in this way is probab strength.

— 241 —

|

DIAGRAM

4

:

e

|

7

DIAGRAM 7 Here the knight’s moves with Black 1 and 3 give Ja formation which makes the most

!

efficient use of the stones and there are no more powerful

2

plays than

these in

this situation.

+010

DIAGRAM

: | © © 6

Continuing the

preceding

gram,

White

nally able

8 from diais fi-

to form

a live group with the sequence from White 4 to 20, but since Black has built such a solid formation on

the outside

the

result

the’

game

is

that */asieta

whole has now been definitely decided in his favor. — 242 —

DIAGRAM

DIAGRAM

9

This

sort

9

of play,

where

White

1 is

used to invade the prospective Black territory on the lower side and Black begins to pursue him with the knight’s -move of Black 2, occurs in the games of high-ranking players. If Black 2 were used to jump upward to A, White would also jump out to M-5, thus escaping into the center. Black 4 strikes at the waist of the knight’s move, and the result is that when the sequence reaches Black 10,

White is confined on the lower side and the circled stone at R-10 occupies the best possible position. — 243 —

Black

DIAGRAM

DIAGRAM 10 cap game. When the pursuit of the White’s reply with 2 had not

been

10

This formation is from an actual handiBlack attacked with Black 1 this began White group with a knight’s move, and White 2 at K-7 was forced. If White

played

at that

point,

White

would

have

been subjected to the attack shown in the following diagram. Black 3 was then used to defend the corner, and this play, together with the extension to C-10 and the attacking play of Black 1, all acting in conjunction immediately lay a firm claim to a large prospective territory. — 244—

4

DIAGRAM

11

®sB

@

In discussing the preceding diagram DIAGRAM 11 a I said that with this formation White needs to make point that at defend to fails defensive play at K-7. If he attack. Black 1 as shown here is the key play for the with White When White comes out with White 2 and cuts Black 5. 4, it is strong play for Black to pull back with 8, after and 6 White Even though White comes out with at A s Black pulls back with black 9, if White connect play at B. The Black can then Block his escape with a White escapes that s result then is that even if one assume up a very built death by the skin of his teeth, Black has powerful position.

— 245—

“WHEN YOUR OPPONENT HAS TWO WEAK GROUPS, ~ ATTACK THEM BOTH AT ONCE”. There is also the saying: “If there are two weak groups of stones it is impossible for both of them to live.”, and those biows that strike at two or more groups of stones simultaneously provide the most promising and powerful

methods

of attack.

DIAGRAM eS

1 eee

DIAGRAM 1 This illustrates the double attack. After Black 1, Black can use his next play either to shut White in on the left side at A or on the lower side at B. — 246 —

DIAGRAM

2

DIAGRAM This

2

the order of the plays which resulted in the formation of the preceding diagram. Black

shows

1 and 3 were

the aggressive plays

7

with set

which out

Black

to

involve

White in the double

ee

attack on both right

and left.

DIAGRAM

fg

DIAGRAM

3

Continuing

3 from

the preceeding diagram, White escapes from the left side in the but then following sequence,

@-

tL) e

(8)+

|— 60 ©@ @Ow @Q@ @) ++ @ ie ® (2)@ @ ® ae ara er Perrier |

—-O@FO

7 |

sequence

4

alan

reaches Black 15 White — 247 —

although

at

first

glance White seems to have escaped by means of White 4 and 6, the good plays with Black 7 and 9 shut

him in,

and by the time the

has been trapped.

DIAGRAM

ceed

DIAGRAM

4

aioe o r +

|

—|—

@

a

4

This formation resembles that of diagram

2, but

on

the left side White’s position

as

shown

by the circled stone ef ©)

cs

[- ¥ -——-|-@

Lan

t

td

DIAGRAM

FS

| i

i

+0 |

el hee ee

+@

il

Qo

OO co taleae

[- ils

| | | L

B

:

is slightly different.

In this case, if Black 1 were used to play diagonally

ee

upward

to A, a White reply at B would shut him in completely.

DIAGRAM

|

Saas

1

'

5

>:

Continuing

5 from

the preceding diagram, even if White tries to escape from both right and left

9 i @-0++e++

with White 2 and 4, Black 5 leaves him

Mies

in on the right.

-| @ (4)

|

is

+

=P

— 248 —

in a predicament. If he replies with White 6 at E-9, Black

7 shuts

him

DIAGRAM |

6 ie

x

ll -

| =I

Te

4

ne

eae As So geeeS pags

pay abae d oT rigaie eee EbeltH

DIAGRAM 6 In this formation Black has a squeeze-play at a twoline interval against the White stone on the lower side with a strong potential for development on the

left,

and

to

attack

from above with White 1 as

shown

here

is

the

height of folly.

DIAGRAM 7 _ Black 2 and 4 use the tactics of

the double attack and Black 6 is a _ crushing reply to White 5. White

extends with White 7 but then Black forms a live group in the corner by means of the sequence from Black 8 to White 11 and so swallows up the left side completely. If _ White 13 were played at E-7, Black could capture the lower side by playing ater: — 249 —

DIAGRAM

8

DIAGRAM 8 It is also possible for Black to push to the right with Black 6. White 7 is a tesuji play correlated with White 9 which follows,

but Black 10 results in the capture of the two White stones on the left giving Black the better position. In fact however, Black’s play in the preceding diagram is more powerful than that illustrated here.

DIAGRAM

9

DIAGRAM 9 Therefore, the proper use for White 1 in this formation is not for the attack from above as in diagram 6, but rather at E-5 as shown here where the reasonable Sequence is given up to Black 6.

DIAGRAM

10

positions on DIAGRAM 10 In this diagram the Black for development the left and right have strong potentials tion between forma White toward the center, but there is a It is thin and requires them with a fi-e-line extension. an immediate defensive play at A. with Black 1 at If Black invades the White position and brought under K-3, White’s formation is split in two The result of right. a double attack both to the left and

5 is to leave the the obvious play from White 2 to Black hope for escape. White stone on the right with no — 25] —

DIAGRAM

I1

DIAGRAM 11 When White 2 strikes a blow at the shoulder of Black 1 this is not an attack, but rather an attempt to compress Black’s formation on the lower side while lightly abandoning the White stone on the left. It is good play for Black to bend to the right with Black 5 in reply to White 4, and White can only pull back with White 6. After cutting with Black 7, Black captures

two White stones and establishes a connection with the right-hand corner by means of the sequence from Black 9 to 13, thus throwing White’s prospects into confusion. — 252 —

DIAGRAM

12

play at DIAGRAM 12 Here White needed a defensive d at invade Black and it g L-4 but was too tardy in makin with center the that point. When White came out into sides of his ‘White 2 and 4, Black 5 and 7 involved both White 8, with cut the After formation in a double attack. from ce sequen the White was simply trapped, and in h throug a spear White 4 to Black 13, Black easily drove After this, if White the center of the White formation. up the entire right should play at A, Black could swallow side of his formation

with a play at B. — 253 —

|

DIAGRAM

13

| ::

iia pnp ot tft O11 08-0@+@+ F44+8@0-+8008+> +

+

DIAGRAM

13

If White tries to escape by using White 8 for a hane to the left of Black 7, instead of cutting with this play as in the preceding diagram, then Black will cut with Black 9 at G-4. White attacks the single Black stone at J-4 with White 10 and 12, but after the exchange of Black 13----- White 14, Black 15 and 17 shut White in on the left side and bring the White group there under attack.

Although White may succeed in forming a live with those stones played from White 6 onward, since will solidify his position on the outside at the same the White group on the right, including any stones from White 14 on, will naturally be weakened, and must

carry on under a heavy double attack. — 254—

group Black time,

added White

DIAGRAM

14

This diagram illustrates the use of DIAGRAM 14 of for the Black 9 for a hanging connection at J-6 instead cut as shown in the preceding diagram. the right In this case Black’s intention is to attack on left by the with Black 11 and 13 when White escapes on

connecting with White 10. 26 is that The result of the play from White 14 to live group by his White finally succeeds in forming a Black has acquired skilful use of tesuji, but once again t on the outside opmen such enormous strength for devel of view the opeof White’s formation that from his point success. ration as a whole has been a great

— 255 —

DIAGRAM

DIAGRAM

15

15

The strongest attack that White can

make in this case is just to cap the Black stone in the center with White 1. The connection with Black 2 is a firm play made with the intention of abandoning the stone in the center of the lower side.

DIAGRAM

16

DIAGRAM 16 If Black should try to escape from White’s capping manoeuvre by playing Black 2 at N-4, White

could easily run through the Black formation and finally swallow Black’s whole center position by means of — 256 —

the sequence up to White 7. Therefore the exchange of White 1.----- Black 2 as shown in the diagram 15 must be considered the correct play. DIAGRAM

DIAGRAM

17

17

This shows a perfect example of the

sort of bad play that results from an obsession for capturing the opponent’s stones. White 1 is atari on the Black stone at Q-4, and when Black connects with Black 2, White attacks his stone in the center with White 3. However, Black can escape with Black 4, which weakens the White stones to the right and the exchange of White 5——Black 6 only facilitates Black’s

escape. When the play reaches this point, the right-hand group

of stones, including those played here from White 1 onward, are

not

attacking

Black’s

position

under attack themselves.

— 257 —

but have

instead come

oe ft

eee

DIAGRAM

ptt} 44+ aaa

18

tp

ee @— 0 0e0e -06 ++ @e5ececje+@@OOOS+ DIAGRAM 18 Black attacks by capping the White group with Black 1, and when White tries to form a connection with his stones on the right with White 2 the contact play of Black 3 is a double attack. Black cuts with Black 5 in reply to the extension with white 4, and after the exchange of White 6——Black 7 the only thing White can do is to make the tight plays in the center with White 8 and 10. It is an important success for Black when he pushes out with Black 11 for this play ruins White’s territory on the right side and extends his own out from the corner. — 258 —

DIAGRAM

19

++|-

Ow sai ® (0 6) © QO) 9 O +) @ +®@ @ +TF@@++

© ges ee oe +4411$+ @@000@84

This variation shows the error of DIAGRAM 19 making the greedy play with White 8 at S-8. The strong play with Black 9, 11, and

13 blocks

White’s

escape

from

the lower side with sente, and demonstrates the tactics of the double attack raised

to their

utmost

efficiency.

It is

obvious that the sequence: White 14 at O-9, Black 15 at N-9, White 16 at A, and Black 17 at M-9 is a hopeless

one for White. White

14 as given here is an audacious

play, but when

the sequence reaches Black 23 it is all over for White. — 259—

DIAGRAM

20

DIAGRAM

21

+B -

+H HBO DIAGRAM games.

Black’s

White

20

This formation may occur

in handicap

1 is played with the intention of invading

extension

at A,

but

he meets with determined

resistance from Black’s good replies with Black 2 and 4.

White’s

attack from the right on the corner

handicap

stone is unreasonable but it is the sort of thing that cannot be avoided in handicap games. Black 6 constitutes a double

attack

which

threatens

White

both

on

the right

and left. After Black 10, White defends himself on the left with White 11, but Black then cuts with Black 12 and when — 260—

the play reaches Black 18, Black has made immense gains. DIAGRAM 21 The hanging connection with White 11, is played to defend the cutting—point at A. Black then plays Black 12 diagonally which brings White 1 and 3 under heavy attack.

Even though White

with White 13, since Black has strong sides the surrounded

White

tries to run out

positions

on

both

stones will not be able to live,

DIAGRAM

22

DIAGRAM 22 The thin White formation on the lower side needs a defensive play at L-4. When Black invades at that point with Black 1 the stones to the left and right immediately come under a double attack. On the left side White escapes by jumping upward with White 2 but Black takes advantage of the threat to cut

at H-4

to force

the exchange

of Black

3——White

4, the

with then turns to attack White on the lower right attack double this of result capping play of Black 5. The

is that the White stone at O-4 — 261 —

will not be able to escape.

DIAGRAM

DIAGRAM

23

23

ope

Continuing from the preceding diagram,

White runs out with White 6 and Black pushes up with Black 7. After White 8 it is a good order of play for Black to bend to the right with Black 9, for White forced to make an empty triangle with White

is then

10 to connect

with his stone at O-4. Black then uses the tactics of the double attack by pushing up with Black 11 and capping on

the left with Black 13. While White is escaping on the left with White 14, 16, and 20, Black attacks on the right with Black 15 and 19, and after Black 21 and 23 the White stone on the right will be captured.

— 262 —

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The author Kensaku Segoe is an honorary Ninth Grade and has been a member of the Association since its organization in 1920. He is a veteran of veterans of modern GO world. He is, also, author of many books on GO. Among them one “GO READER” in Japanese has beena handy guide since before the last War. He has traveled extensively, about ten times before and after the War to Taiwan, China, and Hawaii, to initiate many in the game of GO. The

Japanese

GO

Association

Tokyo. Japan

* P4-CER-319 *

M1)UULVQN01000A

published by the Japanese G